Monthly Archives: January 2018

  • 1963 — Pop Pandemonium in Israel

    Fifty-five years ago, two thousand shrieking youths converged on Lod Airport, now Ben Gurion International Airport, in Tel Aviv.  They trespassed on the tarmac to meet an incoming flight bearing a group of British musicians who had taken the world by storm, starred in hit films, and even recently appeared on the Ed Sullivan Show.  Who were this fab foursome?  I’m speaking, of course, of …. Cliff Richard and the Shadows!

    While comparatively obscure in America, Cliff Richard is among of the most successful British musicians of all time.  He has sold over 250 million records worldwide and has had more top twenty records on the UK charts than any other artist.  He was originally marketed as “the British Elvis” and recorded what some consider the first British rock song.  Unfortunately, I have been unable to locate any concert footage of his 1963 tour of Israel.  But this clip from the same period gives a sense of what Israeli teens were screaming about:


    As best I can judge, Richard is a true gentleman who has avoided many of the pitfalls of stardom during his sixty year career.  That said, I am unable to call myself a fan.  I find most his material — the above clip excepted —  stultifyingly bland.  Indeed, listening to him renews my appreciation for just how remarkable both Elvis Presley and that other Fab Four really were. Which leads to a question.  Why didn’t they ever perform in Israel?

    In Presley’s case, the short answer is straightforward:  he never toured anywhere outside the United States and Canada.  That may have been due to the dubious immigration status of his manager, “Colonel Tom Parker,” who — despite attempting to pass himself off as a native of West Virginia — was born Andreas van Kuijk in the Netherlands and was rumored to have fled to America after murdering a woman in his home town.  But what about the Beatles, who traveled the world?  Following much speculation, the true story emerged with the help of research by historian Alon Gan in the Israeli State Archives.

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  • Stan Rogers — The End of Good Work

    Perhaps the closest thing I have to a religion is Stan Rogers.  The great Canadian sang with the passion and fury of an Old Testament prophet. He wrote, at times unfashionably, of the things that matter most:  home, love, fidelity, history, and the pride that comes from hard labor. If he sometimes teetered on the brink of sentimentality, one can easily forgive the flaw.  Indeed, his contribution appears all the more impressive as the years go by.

    When most of us first heard his voice, he was already dead.   He perished abroad Air Canada Flight 797 on June 2, 1983.  He was 33.  I dimly recall television coverage of the tragedy.  It did not mention his name; he was too obscure a figure, at least in America.

    From Fresh Water
    , his final album of original material, was released posthumously.   Lately, I have been focusing on what it has to say about work and aging.  In “The Last Watch,” the narrator is a watchman on a steamboat slated for demolition.  Rogers’ inspiration was an actual ship, the SS Midland City, that transported cargo and passengers on the Great Lakes for over a century.  In 1955, as it proved too expensive to comply with new safety regulations, it was towed into the Bay of Tiffin and intentionally set aflame. In the song, the watchman, another “old wreck” who is about to be cast aside, is left to pray that “when men with torches come for her … angels come for me.”

    Another piece from the same collection, while understated, is even more powerful.   This time, Rogers’ immediate subject was the fisherman of Port Dover, a town on the polluted shores of Lake Erie.  The twist is that it is not a song about unemployment.   They still have their jobs; in fact, “there’s plenty of pay.”  Instead, the work has become strangely meaningless as they are restricted to catching the smallest fish exclusively for export .  Or as Rogers writes, “it’s all just a job now” (emphasis added).  Have a listen:


    In this pair of compositions, Rogers speaks to us from beyond the grave.  He shows (more…)